lukretion

Daniele
MMA Special Collaborator · Prog Metal Team
Registered 9 months ago · Last visit 5 days ago

Favorite Metal Artists

All Reviews/Ratings

83 reviews/ratings
SOEN - Imperial Progressive Metal | review permalink
EVERGREY - In Search of Truth Progressive Metal | review permalink
CRADLE OF FILTH - Dusk and Her Embrace Symphonic Black Metal | review permalink
THEATRE OF TRAGEDY - Velvet Darkness They Fear Gothic Metal | review permalink
SUBTERRANEAN MASQUERADE - Mountain Fever Progressive Metal | review permalink
MOTORPSYCHO - The All is One Non-Metal | review permalink
TRANSATLANTIC - The Absolute Universe - The Breath of Life Metal Related | review permalink
IOTUNN - Access All Worlds Progressive Metal | review permalink
BALANCE OF POWER - Perfect Balance Heavy Metal | review permalink
SILENTIUM - Infinita Plango Vulnera Gothic Metal | review permalink
TRISTANIA - World of Glass Gothic Metal | review permalink
THE SINS OF THY BELOVED - Lake of Sorrow Gothic Metal | review permalink
THEATRE OF TRAGEDY - Last Curtain Call Gothic Metal | review permalink
THEATRE OF TRAGEDY - Assembly Non-Metal | review permalink
THEATRE OF TRAGEDY - Aégis Gothic Metal | review permalink
TRANSATLANTIC - Bridge Across Forever Metal Related | review permalink
DEVIN TOWNSEND - Infinity Progressive Metal | review permalink
LEPROUS - Aphelion Metal Related | review permalink
TIME MACHINE - Eternity Ends Progressive Metal | review permalink
CRADLE OF FILTH - Midian Gothic Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Gothic Metal 22 3.25
2 Progressive Metal 21 3.31
3 Metal Related 7 3.57
4 Power Metal 7 2.86
5 Non-Metal 6 3.08
6 Neoclassical metal 3 3.00
7 Symphonic Black Metal 3 3.50
8 Hard Rock 3 2.83
9 Symphonic Metal 2 3.00
10 Melodic Black Metal 2 2.50
11 Viking Metal 1 4.00
12 Heavy Metal 1 4.00
13 Heavy Psych 1 3.50
14 Alternative Metal 1 3.50
15 Black Metal 1 2.00
16 Death 'n' Roll 1 2.50
17 Glam Metal 1 2.00

Latest Albums Reviews

BORKNAGAR Empiricism

Album · 2001 · Progressive Metal
Cover art Buy this album from MMA partners
Released in 2001, Empiricism marks a fine return to form for Borknagar after two albums (The Archaic Course and Quintessence) that were far from the level of quality the Norwegians had reached on the splendid The Olden Domain. After Quintessence, ICS Vortex, who had sung on both previous albums and played bass on Quintessence, left the band to concentrate on Dimmu Borgir and was replaced by the talented Vintersorg on vocals and Tyr (who had played live with Emperor and Satyricon) on bass. The change of line-up was very beneficial for Borknagar, not because ICS Vortex is a bad vocalist (to the contrary, he’s excellent), but because Vintersorg seems to fit much better the sonic masterplan of band leader Øystein G. Brun. His singing is more epic and less extravagant than ICS Vortex’s, which is a better match for Borknagar’s progressive/folk blend of extreme metal. Tyr’s performance is also very notable, with some excellent parts on bass and fretless bass, including a few solos. The rest of the line-up for this album is comprised of Øystein G. Brun and Jens F. Ryland on guitar, Lars A. Nedland on keyboards and Asgeir Mickelson on drums.

The fact that we are in front of a much stronger record than the previous two is already apparent from the opening pair of songs, “The Genuine Pulse” and “Gods of My World”. On both songs the songwriting is lean and direct, with some excellent guitar riffs and leads intertwined with Nedland’s great barrage of vintage keyboards. The song structures explore different themes and sections, but they are always anchored in instantly recognizable choruses and melodies, that help the listener keep track of the journey. The arrangements add just enough layers to make the music interesting without overburdening it with excessive complexity. Fast and aggressive parts are complemented with grandiose mid-tempos giving the music an epic and majestic tone, reminiscent of the atmosphere one can find on Dimmu Borgir’s Enthrone Darkness Triumphant, but with an added dose of quirkiness and folk allure. The overall impression is that on the new album Borknagar have finally achieved the right balance between their various facets (black metal fury and melody; progressive experimentation and accessibility), which is a huge improvement over The Archaic Course, for example.

The individual performances of all musicians involved in the album are outstanding. Vintersorg is excellent, both when he uses his epic clean vocals and when he resorts to his grim growls. Both styles are nicely balanced through each song and fit well with one another. Tyr offers a very melodic bass presence which constitutes an exceptional rhythm section together with Mickelson’s varied and sophisticated drumming. Brun and Ryland’s guitars nicely complement one another, which is again an improvement over previous albums where one had the impression that Borknagar had not yet figured out how to make the two guitars work together. Lars A. Nedland’s performance also deserves tons of praise. On Quintessence he had already demonstrated to be a very talented musician, but his role on that album was perhaps a bit disconnected from the rest of the band, with the result that occasionally his keyboard parts were sounding a bit out of place and forced. Nedland is perfectly integrated in the band now, and it is great to hear his always tasteful choice of keyboard sounds, varying from vintage Hammonds to futuristic synths.

Probably a lot of these improvements come down to the longer time the band actually spent in the studio, honing the songwriting and recording the songs (two months compared to the few weeks of previous releases), and to the excellent sound production by Børge Finstad (who will go on to produce several records in this genre, with Borknagar, Solefald and Wind). The guitars and drums sound great, with lots of bite and edge. There is a lot of space and dynamics in the sound that let each instrument come through when necessary, even Tyr’s bass – which is an instrument that often gets sacrificed in this type of music. This spaciousness does not at all come to the cost of power, though: the album can pack a punch or two when needed. Again, the record is excellently balanced in its various facets.

While there is a lot to like on Empiricism, the album does contain a couple of dull moments, with slightly more nondescript songwriting. This is the case especially in the second half of the record, where we have tracks like “Inherit the Earth” and “Liberated” that are borderline fillers. Fortunately, the good moments greatly overweigh the bad ones, and tracks like the opening duo, the progressive tour de force “Soul Sphere”, and “Four Element Synchronicity” stand tall as great example of the talent of these six musicians. The latter song is particularly remarkable for how modern it sounds still today, 20 years after it was first recorded: this track could have been taken from one of the recent albums of Leprous (before their progressive-pop turn) or Ihsahn, showing how visionary and forward-looking Borknagar were back then (or perhaps how backward-looking the progressive metal scene is today!?).

In summary, Empiricism is a strong album, marking a definite return to form for Borknagar. After Quintessence, I had started to wonder whether Borknagar were perhaps a “one album” wonder, which after the excellent The Olden Domain were destined to drown in mediocrity. Empiricism proves me wrong. It is not quite at the level of excellence of The Olden Domain, but it gets damn close and is definitely a highly recommended listen if you are into progressive extreme metal.

BORKNAGAR Quintessence

Album · 2000 · Melodic Black Metal
Cover art Buy this album from MMA partners
Quintessence, Borknagar’s fourth album, was released two years after the underwhelming response to their 1998’s album The Archaic Course. It is a record that rights many of the wrongs of its predecessor (messy and unfocused songwriting; overambitious experimentalism; sub-par production), but that also contains lots of material that falls into averageness and mediocrity, giving the overall impression of an album where Borknagar decided to play it safe. It is not necessarily a bad thing, especially in light of the pas-faux of the previous album. But in a period of burgeoning avant-garde extreme metal, it may be seen as a step back that puts Borknagar in the position of playing catch-up with other purveyors of the genre, like Arcturus, Enslaved or Ulver.

The band underwent a couple of significant line-up changes in the period between The Archaic Course and Quintessence. Ivar Bjørnson, who had played keyboards for Borknagar since the debut album, left to concentrate on his main project Enslaved, while drummer Grim (also with Borknagar since the beginning) sadly passed away of drug overdose. They were replaced respectively by Lars "Lazare" Nedland from Norwegian avant-garde band Solefald and drummer Asgeir Mickelson (Spiral Architect). Bass player Kai K. Lie also walked out, but was not replaced by any new member, as vocalist ICS Vortex doubled up as bassist on Quintessence, instead. With this renewed line-up, in early 2000 Borknagar entered Abyss Studios and recorded the album udner the supervision of Peter Tägtgren.

Sonically, the album takes a half-step back towards the days of The Olden Domain. There are less clean vocals, and more grasps and growls. The music is also simpler and more direct, leaving behind much of the experimentation that one can find on The Archaic Course. The performances are also more streamlined, especially thanks to Mickelson’s tight drumming replacing Grim’s more extravagant style. Newcomer Lars Nedland also makes his presence heard, as the 10 songs of the album are washed with tons of stylish vintage keyboards (Hammond organ, mellotron). Despite these more or less subtle changes, Borknagar’s music direction does not differ much from what the band had proposed on the previous two albums. Centred on Øystein G. Brun’s dense riffs, Quintessence offers a mixture of black metal, folk and avant-garde that bends the rules of extreme metal into more melodic directions.

Tägtgren’s production is good, giving good balance to the various instruments and vocals. If anything, the sound is a tad too balanced, in the sense that none of the instruments stands out particularly on this album and one has to make an effort to figure out the instrumental leads that are being played on the songs. Much of the problem, however, lies in the songwriting and arrangements that are very much nondescript, almost as if Borknagar were afraid to indulge in bold songwriting after the backlash they suffered with the previous album. The result is 10 songs that are fairly bland and lifeless and where it is difficult to find episodes that one gets excited by.

The album starts well, with “Rivalry of Phantoms” and “The Presence Is Ominous” representing two of the strongest tracks of the record. The playing is tight and the music strikes a good balance between aggression, melody and structure, alternating between epic mid-tempos and faster parts. Nedland’s keyboards take centre stage, especially on “The Presence Is Ominous”, and stand out as perhaps the most remarkable aspect of the whole album. Alas, the expectations created by these initial songs are soon disappointed, as the record starts to spin on itself, essentially recycling the same ideas over and over for its whole duration. “Colossus”, with its clean vocals, and “Invincible”, with its death metal vibe, rekindle some interest, but otherwise I find it a bit of a chore to remain fully attentive as the record plays through to its conclusion.

Overall, Quintessence is a decent album that certainly represents an improvement over the messy results of The Archaic Course, but also fails to reach the levels of inspiration and creativeness of The Olden Domain. If you are willing to forgive the somewhat dull and uninspired songwriting, you’ll find things to like here as Borknagar’s sound remains pleasant and enjoyable. But this record does not hold my interest enough to ensure I’ll be playing this very often in the future, as there are better albums of progressive extreme metal out there even from the same period (Enslaved’s Monumension) or from Borknagar themselves.

KATATONIA Mnemosynean

Boxset / Compilation · 2021 · Alternative Metal
Cover art Buy this album from MMA partners
With their latest release Mnemosynean, Swedish prog metal masters Katatonia take us on a trip down memory lane. This double-disc album is a compilation of b-sides, bonus tracks and remixes that span their entire thirty-year career, from the early days when they were a nascent death metal band trying to find ways to push the boundaries of the genre, to the current times where they are globally recognized as one of the frontrunners of the progressive post-metal phenomenon.

The album is cleverly organized in reverse chronological order, starting in disc 1 with several outtakes from the recording sessions of The Fall of Hearts, and ending in disc 2 with a track recorded back in 1994 immediately after the release of the band’s debut LP Dance of December Souls. Disc 2 also contains a handful of remixes, mostly of tracks from The Great Cold Distance, which nicely round off the album. The broad scope of the compilation gives listeners a fantastic bird’s eye view of the evolution of Katatonia’s sound over the years, which is a nice reminder of how far this band has come from their early death metal days. It also shows that the seeds of the band’s current sonic incarnation were sown long time ago, when already in the mid-1990s Anders Nyström and Jonas Renkse were experimenting with acoustic soundscapes and mellower musical forms, breaking away from the metallic assaults of the death metal canon.

The most remarkable aspect of Mnemosynean is that, in many cases, the quality of the b-sides included in the collection is as high as that of the tracks that found a home in the band’s full-length albums. As explained in the detailed track-by-track liner notes compiled by the band members themselves, the exclusion of these songs was often due to timing issues: several of the tracks included here were written late in the recording session of an album and there was simply not enough studio time to record them in time for the release of the record. In other cases, the songs were excluded because the band felt they did not fit well within the track-list of their current album, occasionally because they were slightly more left-field than your typical Katatonia’s song. Only in a rare few cases the band decided to leave them out because they did not like them much – as Anders Nyström openly admits for “Fractured”, for example.

The high quality of the material included in the compilation ensures a highly enjoyable and exciting listening experience, with plenty of highlights. “Vakaren” and “Sistere” are fantastic songs that take us straight back to the progressive leanings of The Fall of Hearts, and are as good as anything that you can find on that record. “Wide Awake in Quietus” is taken from the same sessions, but it has a more alternative rock feel that reminds me of The Pineapple Thief. This track also features a cool guitar solo from Paradise Lost’s Greg Mackintosh. Meanwhile, “Unfurl” is a Katatonia’s classic and a staple of their live concerts. It is astonishing to read that this track was coarsely put together by producer David Castillo in his apartment over his laptop computer. “Wait Outside” is another great song, taken from the Viva Emptiness recording sessions. Its three minutes effortlessly recreate the jarring sense of uneasiness that album is soaked in.

Elsewhere, things take a slightly quirkier and more unconventional turn. On “Night Comes Down” the Swedes give the Katatonia-treatment to a Judas Priest’s ballad from their 1984 album Defenders of the Faith. It is a sombre, melancholic track that feels surprisingly close to some of the material Katatonia have released on their most recent record, City Burials. “O How I Enjoy the Light” is another cover, this time by American singer-songwriter Will Oldham. Recorded spontaneously in 2001, this moving, largely acoustic track harks back to the sound of Tonight’s Decision, and is a powerful reminder of the breadth of Katatonia’s influences already back in the 1990s. I also want to mention “The Act of Darkening”, a dark meditation inspired by the Chernobyl disaster where the band experiments with acoustic ambiance and sophisticated vocal harmonies, in a similar way as they did on their acoustic album Dethroned & Uncrowned. The result is simply breath-taking, making this song my preferred track of the album.

Speaking of quirky material, it’s impossible not to mention “Scarlet Heavens” where Katatonia take an unexpected gothic turn. As Nyström explains in the liner notes, this song was recorded after the success of the band’s debut album Dance of December Souls, when Katatonia felt they wanted to explore new sonic possibilities. The end result was “Scarlet Heavens”, a song that sounds like a cross between The Sisters of Mercy and Type O Negative. While the band eventually did not follow up on this sonic experiment, it is fascinating to listen to it today.

As a long-time fan of the band, I had lots of fun listening to this compilation. So, should you plunk down your hard-earned cash for it? This is a pertinent question, given how most of the tracks included here have been released before in one form or another (as bonus tracks of the special editions of the full-length albums, as b-sides of singles, on EPs, etc.). So if you have been following this band for years, you may already own a large chunk of the material on offer here, as I do. Personally, I like the idea of having these songs all organized in the same physical release and I did greatly enjoy the “time travel” experience of going through the material in reverse chronological order. Plus, I did not already own all of these songs, so there have been a few pleasant surprises on this record too. The addition of insightful line notes written by band members and producers was also a definite bonus for me, and so was the detailed essay included in the booklet written by music journalist Eleanor Goodman. Ultimately, as it is often the case with these compilation releases, it comes down to personal preferences whether you see this as worthy purchase or not. But if you do decide to give it a spin, rest assured that this is a high-quality release, meticulously put together and containing some top-notch material from one of the most accomplished progressive post-metal acts out today – so disappointed you shall not be!

[Originally written for The Metal Observer]

BORKNAGAR The Olden Domain

Album · 1997 · Viking Metal
Cover art Buy this album from MMA partners
Back in the mid-90s, Borknagar were pretty much one of the first black metal supergroups around. The band was formed and led by ex-Molested guitarist Øystein G. Brun, who grouped together an exceptional cast of fellow musicians, including Kristoffer Rygg (vocals; Ulver, Arcturus), Erik “Grim” Brødreskift (drums; Gorgoroth, Immortal), Roger “Infernus” Tiegs (bass; Gorgoroth) and Ivar Bjørnson (keyboards; Enslaved). After releasing a self-titled full-length in 1996, they replaced bass player Infernus with the relatively unknown Kai K. Lie, and headed to the then state-of-the-art Woodhouse Studios to record and self-produce their sophomore album The Olden Domain, which was then released on Century Media in 1997.

While the debut album was pretty much rooted in black metal aesthetics, The Olden Domain offers a more eclectic blend of styles that stunned the extreme metal scene at the time. Black metal, Viking metal, classic HM and progressive rock are all audible influences across the eight songs of the album, giving the record a very definite and special sound. Øystein G. Brun blends in equal parts aggressive guitar riffs typical of the black metal scene with more folk-oriented leads and acoustic passages. His guitar tone is fat and noisy, and his playing is articulate but at the same time raw and spontaneous, which gives the music a distinct lo-fi feel (in fact the whole album was recorded in only two weeks and mixed in three days, which probably reinforces its underground feel). Grim’s drumming can be fast and furious when needed, but it often breaks down in more expressive and articulate playing, with lots of drum fills and builds that bring to mind the style of heavy progressive rock bands like King Crimson. Ivar Bjørnson’s keyboard textures are another hark back to the 1970s progressive rock aesthetics, which are particularly marked on symphonic tracks like “Grimland Domain” and “The Dawn of the End”. Meanwhile, Kristoffer Rygg offers a varied and excellent performance, alternating between raspy growls and theatrical cleans with his unmistakable baritone voice and unique phrasing.

The forward-thinking and progressive nature of the material is also apparent from the song structures, which is loose and fluid, exploring different tempos and moods in the space of a single composition without giving too many reference points to the listener. For this reason, The Olden Domain can be a fairly challenging album to listen to, but it definitely grows with repeated listens as one needs time to make sense of its stretched structures and complex arrangements. Yet, the record also possesses a raw immediacy that makes it easily accessible to those who are not inclined to invest too much time into it. This is especially true for tracks like the epic duo at the front of the disc (“The Eye of Oden”, “The Winterways”), and what is probably the best track of the album, “A Tale of Pagan Tongue”. These are all tracks dominated by strong guitar melodies that are very memorable and instantly likeable. Rygg’s vocals often double the guitar melody, accentuating even further its impact on the listener.

But all songs offer interesting moments, be it an atmospheric acoustic interlude, a glacial guitar riff, or an epic folk melody. There is also sufficient variety across tracks to keep things fresh. The two instrumental pieces, “Om hundrede aar er alting glemt” and ”Ascension of Our Fathers” are helpful in this respect. The first one is a short atmospheric song that revolves around a melancholic keyboard motif that is doubled up by an icy distorted guitar. It breaks up nicely the flow of the record, giving the listener a moment of respite from the black/viking metal assault of the previous two tracks, before the album plunges again into more extreme sounds. The other instrumental track is more of a band effort, with guitar, drums and bass playing around a folksy theme with a strong melancholic feeling. Meanwhile, “To Mount and Rove” shows a more marked classic heavy metal influence, especially in the opening guitar riff. However, this track is probably the weakest song of the lot, with a songwriting that is still partly immature and cannot make the various subsections of the composition flow nicely into one another.

This is probably the biggest limit of this record. While there are some excellent ideas that are genuinely interesting and exciting, Borknagar succeed in channeling them into smooth compositions only in a handful of tracks (the aforementioned “The Eye of Oden”, “The Winterways” and “A Tale of Pagan Tongue”, plus the symphonic “Grimland Domain”). Elsewhere, the song flow stutters somewhat, bordering on the chaotic. But for most part The Olden Domain is a thoroughly enjoyable album, showing a band of enormous potential and unafraid to carve an original and relatively untrodden path in the universe of extreme metal. For this reason, The Olden Domain is highly recommended to fans of bands like Enslaved, Ulver and Arcturus, and anyone interested in music that explores the boundaries between progressive rock, folk and black metal.

BORKNAGAR The Archaic Course

Album · 1998 · Black Metal
Cover art Buy this album from MMA partners
After releasing in 1997 a strong album like The Olden Domain - an eclectic blend of prog, black metal and Viking metal -, Øystein Brun and his bandmates entered Woodhouse Studios again in 1998 to record eight new compositions under the supervision of sound engineer Matthias Klinkmann, who had already worked on their previous record. However, the line-up that entered Woodhouse in 1998 was quite different from that that recorded The Olden Domain in 1997. Singer Kristoffer Rygg left the band to concentrate on his mainstay bands Ulver and Arcturus. He was replaced by ICS Vortex (real name Simen Hestnæs), who had already appeared on Arcturus’ La Masquerade Infernale and who came with the recommendation of Rygg himself. In addition, a second guitarist Jens F. Ryland was added to the line-up, while keyboard player Ivar Bjørnson (Enslaved) was essentially on his way out of the band, being already credited as guest player in the CD booklet.

All these transformations may partly explain why Borknagar’s third full-length feels much more tentative, messy, and ultimately disappointing than its predecessor. I suspect in particular that the transition from one to two guitar players was not yet fully metabolized by the band, seeing how in most songs of the album the guitar work is in considerable disarray, with ruffled riffs, chaotic leads and a general lack of refinement in how the different guitar parts are overlaid and arranged. I should say that the production certainly does not help here. The album sounds rough and dirty, definitely not making justice to the complexity and busyness of the material. The mix is also rather unbalanced, with keyboards and guitars all over the place and the vocals buried deep down to the point of being barely audible at times.

But messy production and overcrowded songwriting cannot fully explain the palpable dip in quality in the new material relative to The Olden Domain. Part of the problem lies instead in an increased musical ambition that was unfortunately not yet fully matched by actual songwriting and arrangement abilities. Don’t get me wrong, all musicians involved in this album are top-notch, and in fact Borknagar were rightly considered a sort of extreme metal “super group” at the time. But Øystein Brun’s songwriting on this album does not sound fully mature and up to the level that is required to properly blend together extreme metal and progressive/experimental metal, as Borknagar were clearly attempting to do at the time. The album tries really hard to innovate and surprise the listener with a flurry of tempo changes, interlocking sub-sections and quirky arrangements. But there is no flow, harmony or coherence in the way these musical ideas are structured and arranged, and the result feels very much like an infernal cauldron that is constantly on the brink of spiralling out of control (which it does more than once). My overall impression is that the material for this album would have needed a longer gestation period, possibly in the hands of a more expert producer (Klinkmann had worked mostly as sound engineer in his career) who could help the band hone their sound, by refining the structure and arrangements of the songs and pruning away the most out-there and superfluous bits.

Speaking of out-there bits, ICS Vortex is an excellent singer as he will demonstrate with his stints with Dimmu Borgir and Arcturus, but he does not exactly shine on this album. Again, the problem is one of trying too hard. His vocals sweep between grim vocals, theatrical baritones and extravagant falsettos, which is impressive. However, his performance does feel forced and strained at times, like on “The Witching Hour” and “The Black Token”, a pair of songs which is probably the lowest point of the record and where ICS Vortex sounds more like a caricature of Rygg than the good singer he actually is.

All this trying hard to be progressive and experimental also means that a lot of the folk vibes that had adorned The Olden Domain are notched down considerably on The Archaic Course. The new music is also more aggressive and frenzied, making fewer concessions to melody in favour of speed and heaviness, another aspect that I do not particularly appreciate of this record.

Ultimately, there are only a handful of tracks that I find myself returning to on this record. “Ocean Rise” and “Universal” open the album in a style that is not dramatically different from the songs of The Olden Domain, albeit “Universal” does feel a tad too busy at times. However, the best song on the album is probably “Ad Noctum”, the only track not penned by Brun but by ICS Vortex. It is a frenzied mash-up of 1970s Hammond organ and furious black metal played at a breakneck tempo, which is stunning in its vigour and audacity. It feels very much ahead of its times, like some of the music that Arcturus were doing around the same years, and it would not feel out of place even today, 25 years later, on the record of a forward-thinking extreme metal act like Ihsahn or Leprous.

Although on each song I can find one or two musical moments that draw my interest, there is no other track on this record that I enjoy listening to from start to finish. Ultimately, this makes sitting through the album quite a chore and I can’t see myself playing this one much often in the future, especially when I could instead play one of the other better albums by Borknagar, like The Olden Domain. Overall, I’d say The Archaic Course is for completionists or hardcore fans of the band only. Everyone else should approach this one with caution, if at all.

Latest Forum Topic Posts

  • Posted 8 months ago in MMA Best of Year 2020 Voting Thread
    Pain of Salvation - PantherAyreon - TransitusEnslaved - UtgardConception - State of DeceptionGreen Carnation - Leaves of Yesteryear Haken - VirusKatatonia - City BurialsIhsahn - TelemarkCaligula’s Horse - Rise RadiantDismal - Quinta EssentiaOceans of Slumber - Oceans of SlumberDool – SummerlandPsychotic Waltz - The God-Shaped VoidPyramaze - EpitaphOsyron - FoundationsSólstafir - Endless Twilight Of Codependent LoveDark Tranquillity - MomentThe Ocean - Phanerozoic II: Mesozoic / CenozoicHail Spirit Noir - Eden in ReverseGrayceon - Mothers Weavers VulturesJudicator - Let There Be NothingAdmin edit: the following have been removed due in ineligibility. Ihsahn - Pharos (Non-Metal)Acacia - Resurrection (2019) adg2112882021-01-27 06:50:38

Shouts

Please login to post a shout
lukretion wrote:
9 months ago
Thank you! :-)
Tupan wrote:
9 months ago
Welcome!
UMUR wrote:
9 months ago
Great review and nice to see a new reviewer here :-)

MMA TOP 5 Metal ALBUMS

Rating by members, ranked by custom algorithm
Albums with 30 ratings and more
Master of Puppets Thrash Metal
METALLICA
Buy this album from our partners
Paranoid Heavy Metal
BLACK SABBATH
Buy this album from our partners
Moving Pictures Hard Rock
RUSH
Buy this album from our partners
Powerslave NWoBHM
IRON MAIDEN
Buy this album from our partners
Led Zeppelin IV Hard Rock
LED ZEPPELIN
Buy this album from our partners

New Metal Artists

New Metal Releases

And Then There Were None Melodic Death Metal
LIVLØS
Buy this album from MMA partners
Shriek Mathcore
LOU KELLY
Buy this album from MMA partners
Maailma Loppuu Sludge Metal
STOLEN KIDNEYS
Buy this album from MMA partners
Purifying Blade War Metal
ANTICHRIST SIEGE MACHINE
Buy this album from MMA partners
Genopocalypse Now Goregrind
GENOPHOBIC PERVERSION
Buy this album from MMA partners
More new releases

New Metal Online Videos

Wayward Dawn - Apathy (Official Video)
WAYWARD DAWN
UMUR· 2 hours ago
More videos

New MMA Metal Forum Topics

More in the forums

New Site interactions

More...

Latest Metal News

members-submitted

More in the forums

Social Media

Follow us